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LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

The two sides of 1973's Big Business / Wind of Change are mainly the work of thegreat Keith Mansfeld but there's a killer cameo each from Alan Hawkshaw and David Snell to help deliver a thematic suite, diverse in mood, applicable to dramatic and environmental situations'. A Be With favourite and truly one for the heads.
The Big Business of side A is all the work of Keith Mansfeld. It's heavy on the suspense and features the vital Hot Property', an insistent groove so good that Madlib sampled it to lace the ace Long Awaited' by Lootpack with Dilated Peoples.
Sleeping Giant 1' is a more feshed out version of the equally-dazzling Fatal Error', evoking the orchestral magic of David Axelrod. Indeed, it conjures images of Diamond D falling over himself in the early-to-mid 90s to loop its intoxicatingly
eerie soundscape. Complete with guitar flls that recall Paris, Texas-era Ry Cooder, you need this record for this piece alone.
The horn-and-fute-led "Tycoon" is a head-nodder and "Power Complex" has some fantastic percussion. Other highlights include the breezy glide of Whistle Stop Tour' and its sister groove Clean Air.'
Over on Side B is the more expansive Wind Of Change, which includes the David Snell and the Alan Hawkshaw contributions. But these ain't no fller. Snell's shufing International Flight' sounds like a smooth Dorothy Ashby track tossed from the heavens. Hawkshaw's Road And Rail' is about as luxurious and strung-
out as the great man gets and it might just be the highlight of this whole set.
Not to be outdone, if Mansfeld's Balance Of Power' doesn't make you feel like king of the world then you must be playing it wrong. Oh, and did we mention World In Action'!
As with all ten re-issues, the audio for Big Business / Wind of Change comes from the original analogue tapes and has been remastered for vinyl by Be With regularSimon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's
brand identity.

LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Released in the same year as Synthesis over on KPM, 1974's Synthesizer and Percussion is its essential companion piece. 'This record features the many distinctive sounds of the ARP Synthesizer plus percussion in various moods and tempos' is the even more underwhelming than usual library record sales pitch for
Alan Hawkshaw and Brian Bennett's second collection of what is basically minimal G-funk, with overtones of primitive acid house. This is ridiculously good.
This is one of Hawkshaw and Bennett's wilder joints and aeons ahead of its time.
Bennett's tough drums provide the underpinnings for the prominent bass, keys and bubbling synths high up in the mix, alongside Hawkshaw's deranged clavinet-funk-rock. There are heavenly break loops galore.
Opener "Mon Amour" is ultra-smooth funk, all inter-weaving melodic lines whilst the seminal "Oddball" is an incredible hard electro strut with a knocking break.
"Mile High Swinger" is a tranquil Spaghetti Western whistling theme over double tempo rhythmic movement and the pulsating "Auto Pilot" has a percussive groove elevated by electric piano and synthesizer. Check "Driving Force', 'Home Run' and "Pacesetter" for electroid prog-funk dripped in acid squelch.
All fve fnal tracks are beatless synth workouts, because they can.
As with all ten re-issues, the audio for Synthesizer and Percussion comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Alan Hawkshaw (piano/Hammond) and Shadow's drummer Brian Bennett are responsible for some of the slickest, funkiest and most sought-after library records ever made in the UK, particularly ones recorded on the legendary KPM label. Their work has now become the go-to place for sampling in music today.
Artists such as Dilla, Nas, and the xx, right through to the billion selling Kanye & Drake have taken Hawkshaw's and Bennett's immaculate beat-driven soundscapes for their own usage.
Their new album, in full, iconic KPM cover is a return to the laidback jazz-funk that helped Alan and Brian demonstrate their library chops. The album is classic Hawkshaw/Bennett. It swings, it grooves, moves and thrills with a fair these two have perfected over years.
Standout tracks such as "Hole In One", "In The Clouds", "Interchange", "Oasis", "On The Nile" and "Corcovado" are no mere excursions in nostalgia, for they carrylots of deft studio work that many a producer would give their right arm for.
Hawkshaw's arrangements allow the drums, guitar, bass, strings, Hammond, fute and brass to swirl elegantly around the 12 original tracks; a masterclass in recording.
Cut by Pete Norman, housed in a beautifully designed Richard Robinson sleeve and pressed at 180g by Record Industry in Holland, this release has been aforded the care and attention it rightly deserves. Essential.

Die Beta Band war eine britische Musikgruppe, die ihren
eigenen Stil als Folktronic bezeichnete, was eine Mischung aus
Folk, Rock 'n' Roll, Trip Hop und hemmungslos
experimentellem Jammen darstellt.
Die Beta Band wurde 1996 in der Nähe von Edinburgh von
den Musikern Steve Mason (Gesang, Gitarre) und Gordon
Anderson gegründet. Als sie gemeinsam Songs für ihre Debüt-
EP Champion Versions verfassten, stießen mit Robin Jones
(Schlagzeug) und John MacLean (DJ, Sampler, Keyboard-
Pianist) noch zwei weitere Mitglieder hinzu. Im Juli 1997
veröffentlichten sie die von Nick McCabe produzierte EP
Champion Versions, die von Kritikern vor allem aufgrund des
innovativen "Cut'n'Paste"- Sample-Konzepts umjubelt wurde.
Zwei ähnliche EPs folgten bald darauf: The Patty Patty Sound
im März des folgenden Jahres und Los Amigos del Beta
Bandidos im Juli. Alle drei erschienen im September 1998
unter dem passend gewählten Titel The Three EP's in einer
Kollektion.

Set for release on June 23 via Asylum Records, x (multiply) is the hugely anticipated new album by Ed Sheeran.
It follows his critically acclaimed and hugely successful 2011 debut +; an album that was certified 6 times platinum in the UK alone and has achieved worldwide sales of over 4 million copies to date. It also saw Ed asthe recipient of various awards for the record, including 2 Brits, an Ivor Novello and multiple Grammy nominations.
Never an artist to stand still, Ed recorded x at various locations around the globe (all the while drawing on experiences and influences encountered on his over three years of unrelenting touring) with such luminary producers as Rick Rubin (Eminem, Jay-Z, Red Hot Chilli Peppers), Pharrell Williams (Daft Punk, Robin Thicke, N.E.R.D), Benny Blanco (Rhianna, Wiz Khalifa) and Jeff Bhasker (Alicia Keys, Jay-Z) adding new flavours to the classy work of key collaborators Johnny McDaid (Snow Patrol) and Jake Gosling (who produced +). xhas the musical ingredients to make it one of the most important global releases of this year.
The new set showcases the exponential growth (both vocally and musically) of an incredible artist, who at 23 exhibits the poise of a seasoned veteran. The songs for x came together whilst touring + and, in the same way as the latter was a snapshot of his life and relationship to-date, x charts his loves and life since. Only 'One', the perfect album opener and first song written for the record (in 2011 whilst on tour in Australia) looks back to that time and is the link between the two records. With 'One' under his belt, almost before he noticed he was writing, Ed had ten new songs and counting.
The breath-taking album-closer 'Afire Love' was written about his grandfather who passed away last Christmas. 'Always the hero of the family - such a cool guy - he'd been suffering with Alzheimer's for some time and I actually started writing that song two weeks before he passed away," Ed says. "I was thinking 'What if' and then he did...' Then there is the timeless ballad 'Photograph' written in May 2012 in a hotel room in Kansas whilst on tour with Snow Patrol. McDaid had a piano loop playing on his laptop while Ed was making a Lego X-wing Fighter to give to a charity auction. He just started singing as he put the pieces together and the song grew from there. 'Don't' started life as a riff on his phone and grew into another of x's massive moments. The deluxe version of the album also includes the original song, 'I See Fire', which Ed wrote, produced and recorded for the second Hobbit movie. This was after Academy award-winning filmmaker Peter Jackson personally commissioned him. With no promotion besides 3 tweets from his personal twitter account, it reached #2 on the UK iTunes chart.
However it's the Pharrell-produced lead single 'Sing', due out in the UK on June 1, that's pushing the envelope for Ed. #Sing was the number one trend on twitter globally ahead of launch with the track immediately tearing up airwaves nationwide including a 7-week add to Radio 1 and an unprecedented addition straight to the Super Hit list at Capital FM and Kiss Network. The audio upload on YouTube was Ed's biggest ever video launch, clocking 650k views in its first 24 hours. Already i-tunes Top 5 in 15 different countries (number 3 in the US), Top 20 in 36 countries and with all chart positions climbing, 'Sing' is well on the way to being a global smash.
On the back of 'Sing's' launch, x reached No.7 in the UK iTunes chart on pre-order alone with that success mirrored internationally with No.1 positions in the US and Canada, Top 5 in New Zealand, Sweden, Australia and Top 10 in 20 countries.
'I'm really proud of my new album and can't wait for people to hear it.' Ed says. 'It's definitely my best work.'

Tucky Buzzard
The Complete Tucky Buzzard 5 Lp Slipcase Box Set
- Having Come To The End Of The Psychedelic Path, The End Decided On A Change Of Musical Direction And A Change Of Name,
Arising From The Ashes As Tucky Buzzard In 1970 And Retaining The Line-up Of Guitarist Terry Taylor, Organist Nicky Graham,
Drummer Paul Francis, Bassist Dave Brown, And Vocalist Jimmy Henderson.
- The First Album, Recorded With Madrid Philharmonic Orchestra Directed By Waldo De Los Rios, Contained Some Last Vestiges
Of The Band's Previous Existence. But The Second Album, Produced By Old Associate Bill Wyman With Glyn Johns At Olympic
Studios Set Out The Band's Template Of Bluesy Rock, A Leading Genre At The Dawn Of The 70s. Mick Taylor Makes A Guest
Appearance.
- For The Fourth And Fifth Albums, The Band Was Signed To Deep Purple's Own Purple Records. Bill Wyman Continued In The
Producer's Chair, But The Departing Nicky Graham Was Replaced With A Second Guitarist.
- Strictly Limited To 750 Copies, And Housed In A Numbered Rigid Slipcase Featuring Photos From The Collection Of Terry Taylor
(bill Wyman's Right Hand Man In The Rhythm Kings For The Last 25+ Years), All The Original Sleeves (including Two Gatefolds)
Are Faithfully Reproduced. The Inner Sleeves Feature Extensive Annotation By Alan Robinson Based On Interviews With The Band.

WhoDemSound024 by J. Robinson.
The finest in ReggaeDub

Goatherder is the seventh album from underground London producer Kristian Craig Robinson, AKA Capitol K. This ace manipulator of audio and punk warlord of groove has crossed a tapestry of styles and approaches with his own secret compass since 1998.

Along with everything from Chinese pop to the marching band music of the United Arab Emirates in his early musical vocabulary, the influence of rave, new wave, grunge, and noise-core would collide to create a bold new sound. His early studio experiments gave birth to his debut, Sounds of the Empire (Planet Mu, 1999) built upon a heady balance of samples and live sources that placed Capitol K at the forefront of the UK's electronic scene. The follow-up, 2002's Island Row, was released via XL Records, with lead single Pillow becoming a daytime Radio 1 crossover. Nomad Junk (2005) combined Asian field recordings into a vibrant psychedelic collage, while Notes From: Life On The Wire With A Wrecking Ball (2008) paid homage to London's squats and free anarchistic artistic spaces of which K was a part for many years. Andean Dub (2012) was an exploratory South American-influenced album of heavy synth laden cumbia sound system tracks.

The last seven years have seen Capitol K's stature as a producer elevated with his establishment of the renowned Total Refreshment Studio and recording work with musicians such as the Mercury Music prize nominated The Comet Is Coming, global dance act Ibibio Sound Machine (Merge), the pan-Arabic Flamingods (Moshi Moshi), Serafina Steer and her BAS JAN project, and contemporary folk artist Rozi Plain, among many more.

This latest work was developed and recorded in his native Malta, where he built a studio in a cave (a former goat stable). K gathered bamboo instruments collected around the world, including an ancient Quecha reeded pipe (his new-found lead instrument), and various resonating vessels and percussive objects including dry fennel storks collected from Punic troglodyte sites, and atonal flutes built from fresh cut farmland reed. Ritualistic improvisations took place over a series of seasonal visits, awakening genetic memory and plant communication.

Back in London the tracks were interfaced and expanded with post-industrial machine beat and bass guitar lock down. Homage is paid to New Age synthscapes, while a Spirit Jazz overtone arrives from K's recent years as the sonic muscle behind a plethora of luminous albums born in his Total Refreshment Studio. Goatherder follows on from the 2016 collaborative incarnation LOOSE MEAT and sonically abridges 2012's Capitol K album Andean Dub.

Outside of studio production and his solo repertoire as Capitol K, Kristian has toured as guest musician with multiple bands over the last 15 years, including Brazil's Cibelle (Crammed Discs), Archie Bronson Outfit (Domino) (whom he also co-produced), and recently Du Blonde (Mute Records).

His last project, Loose Meat, was a collaborative album of poetic dance music received lots of radio play in the UK and toured across the country for a year, performing a number of festivals.

He established the Faith and Industry record label which handled his subsequent releases and through which now he releases a number of other artists that he develops and produces.

Big Release by Dubbing Sun feat. Mowty Mahlyka.

A near-perfect record, White Magic was the lauded CD-only debut album by Sorcerer (Californian native Dan Judd, one half of Windsurf with Hatchback). Just in time for Spring/Summer, we present the first ever vinyl issue, released as a deluxe double LP.

Back in summer 2007, this majestic set gently nestled itself into the Balearic soundtrack-to-summer slot for many, making him a household name for Cosmic Disco heads alongside the likes of Lindstrom, Metro Area, Todd Terje, Mudd, Studio and Quiet Village. In the intervening years, exceptional producers have created vibrant variations on the dreamy, dubby, melodic nu-disco theme. Happily, the emergence of such luminaries as Jex Opolis, Harvey Sutherland, Suzanne Kraft, Tornado Wallace et al has only served to make the master - Sorcerer - sound ever more brilliant and vital.

Utilising his array of guitars, drum machines, synths, and trusty MPC, the loved-up Sorcerer sound inspires halcyon memories of warm days, endless sunsets and pure youthful abandon. Influenced by surf, 80s dance pop, acid-R&B, space jazz, krautrock, disco, dub, and am radio gold, his music maps a tour through a uniquely Californian lifestyle. Yet when music so vividly captures a vibe and a feeling, it can make writing about it appear almost redundant. Instead, to glean the full colour of what your turntable will soon gratefully radiate, we prescribe the generous soundclips presented here.

And, for a unique insight into the process behind the wonderful sounds conjured up, here's Sorcerer himself:

"White Magic is a reflection of personal freedom and discovery. Having been in bands for years, this was a chance to develop music that stood alone and for me to be in full control.

I was living alone and worked on jams whenever I could. I was highly inspired by a new openness to music as a pure inspiration, not being part of any scene. I tapped into the mixes I was hearing coming out the UK where deejays were playing "cosmic" sounds that were so strangely familiar.

I was picking up all kinds of $1 vinyl and throwing bits of it into my sampler almost randomly to see what would come out.

In my mind, I was making music to be played at my friend's Broker/Dealer Pop nights where they fused golden German techno sounds with the new disco emerging at the time. Also, I took vacations and reconnected with the Pacific Ocean where I spent so much time as a kid: it spilled out into the sounds.

Lastly, I forged a partnership with Hatchback (Sam Grawe) who was working on music in the same way. I learned so much about arrangement and the colors of music. We began recording together as Windsurf and released our own stuff. It all seems like a small glorious moment in time, so I am so excited to keep the legacy alive and I continue to work on my music with these spirits inside of me."

Lovingly remastered by the esteemed Simon Francis, cut reassuringly loud on to heavyweight double vinyl and presented in a deluxe gatefold jacket with freshly commissioned artwork throughout from original designer Rich Robinson, this limited edition of 500 copies is sure to fly.

A continuation of his kaleidoscopic sun-dappled cosmic-disco, Neon Leon was the much-loved CD-only sophomore album by Sorcerer. Just in time for Spring/Summer, we present the first ever vinyl issue, released as a deluxe double LP.

A perfectly formed suite of ten tracks featuring soft guitars, subtle synths and lightly grooving percussion, Neon Leon magically evokes that elusive summer feeling throughout. The guitar-driven "Algorhythm" serves as the album opener, blasting bold, sun-drenched jazz chords atop bright synths and groove-based drum programming. "Ride The Serpent" and "Distort Yourself" are guided by a more sultry, slo-mo disco impulse whilst the staggering "Chemise" and strident "Face It" merge 80s West Coast production sheen with Sorcerer's trademark laid back, gentle disco. "Raydio"'s undeniable head-nod groove adds a rare vocal to the proceedings, joyously combining with the bubbling cosmic funk.

Since its initial release in 2009, exceptional producers have created vibrant variations on the dreamy, dubby, melodic nu-disco theme. Happily, the emergence of such luminaries as Jex Opolis, Harvey Sutherland, Suzanne Kraft, Tornado Wallace et al has only served to make the master - Sorcerer - sound ever more brilliant and vital.

Utilising his array of guitars, drum machines, synths, and trusty MPC, the loved-up Sorcerer sound inspires halcyon memories of warm days, endless sunsets and pure youthful abandon. Influenced by surf, 80s dance pop, acid-R&B, space jazz, krautrock, disco, dub, and am radio gold, his music maps a tour through a uniquely Californian lifestyle. Yet when music so vividly captures a vibe and a feeling, it can make writing about it appear almost redundant. Instead, to glean the full colour of what your turntable will soon gratefully radiate, we prescribe the generous soundclips presented here.

And, for a unique insight into the process behind the wonderful sounds conjured up, here's Sorcerer himself:

"Neon Leon's is the name of a bar in a Elmore Leonard book I was reading on a vacation to Belize with my future wife. I was soaking up his brand of noir during the making of the songs on this record, along with another favorite Ross Macdonald. We were living in a small apartment in the Mission District of San Francisco where i had my own room to jam. It was painted Orange and Turquoise and was a very inspiring place to create and focus. I could walk out of my house to any number of hole in the wall bars where people were deejaying, hanging-out, and knew about me and my music.

After White Magic I developed more confidence in my style and process so I stuck with it and I believe it shows in the tunes I selected for the record. The sounds are rich and I dug deeper into sampling from obscure dollar records and getting looser musically. I made a handful of collage videos for the tracks at this time as well, which represent where my mind was at visually. In my mind it's Cosmic Funk that rules the day and I am thankful to have the opportunity to share it with the world again."

Lovingly remastered by the esteemed Simon Francis, cut reassuringly loud on to heavyweight double vinyl and presented in a deluxe gatefold jacket with freshly commissioned artwork throughout from original designer Rich Robinson, this limited edition of 500 copies is sure to fly.

WHEN YOU'VE FINISHED LOOKING AROUND THE WEBSITE, YOU CAN FIND US ON THESE SOCIAL CHANNELS

It's rare to come across a debut album that delights and surprises in equal measure, but that's exactly what you can expect from Human Call, the first full-length excursion from daydreaming dancefloor fusionists Earthboogie.The East London-based duo of Izak Gray and Nicola Robinson has previous form when it comes to creating beautiful, funk-fuelled fusions of soundsystem-ready rhythms, humid instrumentation and intergalactic audio explorations. To date, they've released a pair of fine EPs on Leng, both of which did a splendid job in showcasing their unique musical vision.Even so, this vision has never been clearer than it is on Human Call, a vibrant eight-track missive that fixes the sticky tropical cheeriness of African and South American dance music - be it Afro-disco, Afro-funk or samba - with a wide range of complimentary sounds, styles and influences, from spacey analogue electronics, sun-kissed Balearica and hazy West Coast jazz-rock, to chunky dub disco, snappy retro-futurist house and bouncy, dub-fuelled club workouts.Throughout, Gray and Robinson showcase an impressive level of musicianship, variously combining crunchy drum machine hits and dusty old synthesizers with razor-sharp electric and acoustic guitars, rich bass, cascading saxophone solos and hazy, life-affirming vocal harmonies.The result is a string of memorable highlights, from the sticky tropical-house-meets-dub disco futurism of 'Human Call' and fuzzy disco-funk righteousness of opener 'Overground', to the post-punk disco jauntiness of 'Stargazing' and samba-infused dancefloor bliss of Nina Miranda collaboration 'Silken Moon'. Cheery, absorbing, imaginative and hugely entertaining, Human Call offers a perfect snapshot of Earthboogie's distinctive musical world.

Both D-Malice and Kid Fonque are well-established players in their native cities, both boasting long-term involvement and impressive credentials. After meeting in 2013 and nurturing a very natural and obvious predilection for golden era hip-hop, 90s R'n B, soul and trip hop they decided to pool their creative resources and rope in a wealth of talent from their combined networks under a new moniker. Enter rkls.

On this debut offering the pair have worked with LA's broken beat visionary Marc De Clive-Lowe, legendary emcees John Robinson and Kev Brown, dazzling new vocal and production talent from South Africa - Sio, Melo B Jones, Daev Martian and White Nite to name but a few.

This diverse list of guests flex their dexterity allowing the album to shift easily between ballads and more up-tempo beats effortlessly. Punctuated with spacey interludes, the resulting twelve tracks glisten with sumptuous textures, swelling harmonies and organic instrumentation. Familiar but fresh, rkls feels like you're meeting an old friend with enthralling new stories to tell.

This unique set brings together a treasure trove of R&B rarities enshrined by the $3,000 Lookin' For My Baby', recorded by The Nightriders in 1959 for Juggy Murray's Sue imprint.
Murray had co-founded Sue Records two years earlier with fellow New Yorker Bobby Robinson whose Fire label provides us with the equally compelling Keep A'Calling' by Paul Perryman (side 1, track 1), a snip at only $300!
The set bursts into life with Vernon Harrell's hot dance ticket Slick Chick', currently commanding a cool $400 on its original Lescay label. Northern Soul fans will be interested to know that Harrell co-wrote Seven Days Too Long' with J R Bailey (aka Chuck Wood) and Sweet Sweet Lovin'' for The Platters. 
Mike Robinson ( Lula') also has a tenuous Northern Soul connection, he was originally in Bobby Thomas' Vibranaires before joining the Orioles alongside the legendary Sonny Til. 
BOTH Earl King's make the playlist: Earl Connelly' with his hard Every Whicha Kinda Way' and the New Orleans native Earl King with Darling Honey Angel Child', an early prototype of the standard Come On'.
Look out too for rare soul sweetheart Baby Washington, Medicine Man'.
A Collection to Treasure...

In an interview with Jazz Magazine in the early 1970s, Dharma, as a collective voice, outlined their method: 'we try to reach, within free jazz, the same sort of rhythmic cohesion as in Bop, a cohesion based not exactly on tempo, but something which feels like tempo. A kind of underlying pulse'. Evidence of these ideas can be heard immediately on listening to Mr Robinson, the first album by the Dharma Quintet, for whom community living seemed obvious, in order to add to the aforementioned cohesion. Through this, the group members played together on a daily basis, trying out things which were worked on day in, day out. They were also listening to a lot of records, with of course a preference for free jazz, but not forgetting Miles Davis in his electric period, notably for the keyboards of Keith Jarrett and Chick Corea. To which should be added esthetical-political concerns based on a refusal of hierarchy, and a desire to escape from a restrictive academic approach... It was within this framework that Jef Sicard and Gérard Coppéré (saxophones, flute, bass clarinet), Patricio Villarroel (electric and acoustic piano), Michel Gladieux (bass) and Jacques Mahieux (drums) formed the first version of a collective united by structured intentions. Because, within Dharma, individual improvisation cannot be envisaged outside of a clearly designated framework, even non-tempo. The result is a beneficial cohesion, and moments of great beauty born of a collective excitement and giving rise to ambiances which seemed almost possessed. The use of modes could seem to link Mr Robinson to the spiritual jazz of the past but that is without taking into account the fact that the benevolent spirit of Eric Dolphy seems to watch over this album. In France, a similar desire for cohesion could be found in the Cohelmec Ensemble, who had parallel preoccupations, to the point where their bassist, François Méchali, ended up by joining Dharma: there is unfortunately no recorded trace of this, just the memories. As a quintet, with however some personnel changes, Dharma recorded three albums (there is also one as a trio, under the name of Dharma Trio), which are all of fundamental importance (Dharma would also accompany, and to great effect, the songs of Jean-Marie Vivier and Colette Magny). Individually, the members would record with musicians passing through (notably Anthony Ortega, Dave Burrell) and participated in other key groups including Machi Oul and Full Moon Ensemble.

2x12"

Scandinavian duo KSMISK return to Norwegian techno imprint PLOINK to drop their debut album this
February. Real names Truls Kvam and Robin Crafoord, KSMISK made a name for themselves as Trulz & Robin with releases on Planet Noise and Cymasonic, not to mention Prins Thomas' Full Pupp and Rett I Fletta. Since launching their KSMISK project in 2015 the pair have returned to some of these labels whilst also dropping two releases on renowned Bergen-based techno label PLOINK, of which 2017's 'Magma EP' is the precursor to their inaugural album 'Mikrometeorittene'.
Opening the package is the ominous and beatless 'Lonsdaleite', setting the tone for an otherworldly aesthetic throughout. Off-kilter kicks then rain down in 'Silicate' as sinister drones ebb in and out of the mix before meandering back into a ghostly ambient cut named 'Vesta'. Crunchy percussion and tantalising atmospherics then make up 'Blitz', moving into the twisted and syncopated 'Marinate' until the raw sounding 'Spherules' exhibits a compelling groove combined with echoing effects. The dusky 'Wustite' sees the album retreat from 4/4 once again, returning for the effervescent 'Westergas' before concluding on a melancholic outro entitled 'Chondrites'. For this release 2x12' LP PLOINK will release 100 numbered and limited grey vinyl as well as the usual black vinyl.